 |
|
| Canary folklore: the Concierto Atlántico is based on two motifs that have been "united with the almost obsessive rhythm of the tango herréno, an essential element of the oldest folk music of the island." The piano piece Latir Isleño, on the other hand, is based on a well-known Canarian folksong, Arrorò. But traditional Canarian music is merely the starting point for these works, not their destination; their structure, like that of La Luz del Aire (The light of air), is determined by exact mathematical proportions, which also predetermines the textures used in each composition. Soledad (dedicated to Narciso Yepes) has been "inspired by the composer's impressions of the Holy Week in Cuenca, in particular of the traditional procession for the Virgen de las Angustias, the town's patron saint." The composition alternates between rigorousness of reflection, grief and purely rhythmically motivated parts. Zulema de la Cruz sets out to till a wide field – and successfully avoids any lapses into superficial folklore. |
1CD | Orchestral | Contemporary | Special Offers |
|
|
|
| Recommendation |
|
|
|
|
A fascinating approach on sound and tradition: The mexican composer Alejandra Hernàndez with her new album Móvil!  |
|
|
|
|
|
| Wolfgang Mitterer is playing the organ and leaves no tone unturned. The composer beams the traditional instrument straight into the 21st century – feel free to follow suit! |
|
|
|
|
|
| Nono’s first work for orchestra, the Variazioni canoniche (1950) based on Schönberg, already comprises the bases of his late works, such as No hay caminos... (1987). |
|
|
